Back to Homepage
Works on Paper III
3 May – 5 July 2015
Produced by Emilio Rapanà
 |
| Performances: May 3, 10, 17, 24, 31 |
Exhibition: 6 June — 5 July 2015 |
|
Featuring:
Marina Belikova // Richard Berger // Andreas Blank
Isaac Chong Wai // Paul Darius // Amir Fattal // ƒƒ
Zeno Gries // Mariana Hahn // David Medalla // Adam Nankervis
Melisa Palacio Lopez & Noise Canteen // Kirsten Palz // Zhou Xiaohu
For the MPA-B Month of Performance Art Berlin 2015, MOMENTUM reprises its month-long program of Performance Sundays entitled WORKS ON PAPER. WORKS ON PAPER III inverts classic assumptions of paper as a medium, inviting performance artists to approach paper not as a static blank canvas, but as a dynamic source of conceptual and performative possibility. Bringing together a diverse group of international artists based in Berlin, MOMENTUM invites them to work on paper and with paper to activate all the possibilities of the medium in unexpected ways. WORKS ON PAPER III generates a dialogue between performance artists confronted with the challenge of working with paper, and artists whose medium is paper, given the challenge of working with performance, invoking the breadth of performance art to reimagine paper: this most traditional of artistic media.
Taking place every Sunday in May (3, 10, 17, 24 & 31) from 3-6pm, WORKS ON PAPER III takes the form of a cumulative series of performances – with each subsequent performance engaging with the artifacts resulting from the works preceding it in the series. By generating a cumulative, site-specific series through the appropriation of the remains of one another’s performances, the artists in WORKS ON PAPER challenge and reinvigorate the notion of the stationary, disengaged exhibition. What, they ask, is the life of performance after the event concludes? Whether engaging in durational performance, instruction pieces, physical and social architecture, live performance in tandem with other media, sculpture, dance, poetry, or text, these artists challenge expectations of working with the traditional medium of paper in real-time.
Each performance is documented on video, and from 6 June to 5 July 2015, MOMENTUM will exhibit these videos alongside the artifacts in a gallery exhibition.
(click on the icons below to read the full information about each work)
|
Marina Belikova Website Marina was born in Moscow, Russia. From 2005-2011 she studied Graphic Web Design & E-commerce at the National Research University Higher School of Economics. From 2012-2013 she completed an M.A. in Communication Design: Graphic Design at Kingston University, London. In 2013 she began her M.F.A. in Media Art and Design at Bauhaus-Universität, Weimar. |
Re:mémorer In a landmark 2010 paper in Nature, Schiller (then a postdoc at New York University) and her NYU colleagues, including Joseph E. LeDoux and Elizabeth A. Phelps, published the results of human experiments indicating that memories are reshaped and rewritten every time we recall an event. (reference) The project is inspired by a theory claiming that every time we remember something, we do not access the original memory, but rather recall our remembrance of the event. Every time we remember something, our memory is being re-written, the newer memory overwriting the previous one. On the other hand, nowadays we store a lot of our memories in the digital form in order to preserve them safe and unchanged, but doing that we still keep endlessly copying and reproducing them in all the different mediums. Do they really stay unchanged, even being saved digitally?
The project idea is to visualise these transformations of our memories.
In the end we will see how the same event is being altered in time through four different points of view. |
|
Richard Berger Richard Berger, born 1981 in Wuppertal, is a Berlin-based artist. After finishing his studies in social work in 2006 he then began his studies in physical education, philosophy, politics and economics at the University of Kassel, graduating in 2012 and 2013. There he developed his interest in art, taking courses in contemporary dance and theater while working at the Staatstheater Kassel. In 2011 he had his first big stage performance under the direction of contemporary dance choreographer Johannes Wieland at the Staatstheater. Berger moved to Berlin during his studies in philosophy and moved his practice to fine art, with a focus on sculpture. Translating his theoretical knowledge of humanities and social science into form, his plastic works revolve around dialectic pairs like the perceptible and the imperceptible or believing and knowing. He often makes use of scientific materials and techniques to stimulate and play with the curiosity of the viewer. |
A Lack of Information What is a simple sheet of paper usually created for? Since its invention it gives the user the possibility to structure his or her thoughts and bring them into concrete material form. The owner usually uses paper as a medium through which to transfer his or her inner world to the outside and make it visually perceptible. At the same time the sheet of paper is used as a storage medium. The information on it will be stored until it is no longer interesting. In particular, the artist usually tries to produce content on the paper which is interesting for a longer period, especially if the work is made for a viewer. The viewer gets the chance to perceive the visual content and build up his or her own personal thoughts or ideas from it.
This performance plays with the idea of not satisfying the expectations of the viewer to take part in his structured thoughts on paper. It plays with hiding and destroying instead of showing and storing. If the content is not shared, is there still content? Is the viewer trying to slip into the role of the artist and create his or her own information in front of his inner eye? Or is it just confusing? |
|
Andreas Blank Website Andreas Blank was born in Ansbach in 1976. He attended the Karlsruhe State Academy of Art (Staatliche Akademie der Bildenden Künste) and was Meisterschüler under Prof. Klingelhöller. He held a scholarship with the German National Academic Foundation and received his MFA from the Royal College of Art in London. In 2009 he was a finalist for the New Sensations Award by Channel 4 and the Saatchi Gallery. He lives and works in Berlin. Andreas Blank‘s stone encarved trompe l’oeils seem casual at first sight. However, his arrangements are precisely staged and after closer inspection one discovers that light bulbs, transport boxes and plastic bags are made of marble, alabaster or sand stone. In his sculptural practice, Andreas Blank combines the abstract and the realistic, the conceptual as well as the technical. He sources stones from quarries from all over the world, carves them with elaborate deliberation and assembles them in sometimes consciously stylized, and other times deceptively realistic objects of the everyday. In his precise installations, the apparently ephemeral objects achieve monumental permanence. Whether marble, alabaster, or porphyry, material historically used to serve religious or political functions, has in Blank’s hands acquired a seemingly casual and fragmentary character. The geographical and cultural identity of the stone and the memorial function of stone-sculpture in general refer to the value of each object. Blank questions the obvious and transforms traditional ideals and values on the ordinary and present. |
Untitled – A Sculptural Performance At first glance, Andreas Blank’s desk appears to be like any ordinary desk. On top, some paraphernalia are neatly displayed; a half-full cup, a box and a documentation folder. The desk could be found in any artist’s studio or any workspace for that matter. However, upon closer inspection, each element (including the trestle table itself) has been meticulously hand carved from a variety of precious stones, sourced from quarries from all over the world. In this way, the work relates to the history of stone carving within art history and sculpture, where materials such as marble, alabaster and limestone were traditionally used to sculpt objects of political or religious significance.
Blank, however, plays tricks with our expectations and perceptions. By treating mundane objects in a similar traditional and precise manner, he provides the everyday with a monumental status. For example the crumpled A4 white sheet of paper, in a black frame, that modestly occupies a spot on one of the exhibition walls. Upon closer inspection it is actually carved from white marble (the paper) and black alabaster (the frame). From a distance, this work could be viewed as a pun on modernist nihilism, but up close, reveals a material sensibility that goes beyond a simple juxtaposition of abstraction and reality. |
|
Isaac Chong Isaac Chong Wai is an artist from Hong Kong and MFA candidate in Public Art and New Artistic Strategies at the Bauhaus-Universität in Weimar. He received his BA in Visual Arts (Hons.) from the Academy of Visual Art at Hong Kong Baptist University. He works with diverse media, including performance, site-specific installation, public art, video, photography and multimedia. His work, “I’m not changing the color of history – The Sarajevo White Roses,” is selected to be shown at Macura Museum in Serbia in 2015. Chong’s work, “I Dated a Guy in Buchenwald,” was selected for the Moscow Biennale for Young Art 2014. His video, “Equilibrium No.8 – Boundaries,” received honorary mention at the Award of the 2nd OZON International Video Art Festival in Katowice, Poland in 2013. He was awarded the first runner-up prize for the 2012 Hong Kong Contemporary Art Award. He participated in IAM (International Art Moves) in Dresden, Germany in 2012. Chong had his solo-exhibition at the Academy of Visual Arts Gallery in Hong Kong in 2011. He lives and works in Berlin. |
The Shape of Missing Violence 5-7 participants are invited to perform in “The Shape of Missing Violence.” Each of the participants is required to hold a knife and stay still. They stand in front of a wall within a “frame” which is made of black adhesive tape in rectangle shape. When the performance starts, the artist adjusts their postures and, later, uses the same black adhesive tape to “fill” everything within the frame. Afterwards, the wall and the bodies of the participants are covered with black tapes, while their heads and the knives are still visible; then, their heads are covered with black tape and, finally, the knives are covered as well. Once participants realize that their body is completely covered, they can move slightly, expanding the tapes from “inside” (not destroying them) and come out from the tapes. They leave the knife, which is stuck on the wall, behind the tapes. In the end, the shapes of the leaving traces of their bodies are shown while the knives are invisible. |
|
Paul Darius Paul Darius studied in the Sculpture Department of The Art Academy Berlin with Prof. Karin Sander, Prof. Albrecht Schäfer and Prof. Eran Schärf. He graduated with a Meisterschüler Degree in 2014. His artistic practice is linked to a close engagement with daily experiences that become the source and inspiration for his work. The development of his work is associated with a creative concern for light, movement, bodily perception and direction of the spectator’s attention–all leading to installations that combine objects, photography, video, drawing, printing and paraphernalia of daily life. |
I Believe I Can Fly The performative character is not delivered by the action of the artist, but transferred to the audience. It is not a forced one but understood as an affordance, liquidating the clear division of an „acting“ artist and the „receiving“ audience. |
|
Amir Fattal Amir Fattal (born in Israel in 1978) is a conceptual artist whose practice is one of historical reflection grounded in the history of aesthetics and cultural schisms. Fattal’s overarching concerns are the cultural connections between Germany and Israel – countries inexorably linked through their history, memory, culture, architecture, geographical diaspora, and the mass migrations that transpose cultures to new and different nations. Fattal graduated from Universität der Künste, Berlin, in 2009, and is currently based in Berlin. |
Frieze The “Frieze” performance is a creation of a frieze-like storyboard over a long role of paper using silk screen printing.
The main focus of the performance seeks to deal with the different representations of storytelling and history of the region–the Arab media, ISIS propaganda and the perspective of Western media. The process of the printing is one of documentation and erasure and the balance between east and west. |
|
ƒƒ ƒƒ is a living and evolving network of artists, operating since 2011. ƒƒ is a way of working and communicating through art that grows out of collaborations and discussions in close personal contact. Through friendships and alliances we make art that is an essential element of our lives. Art is a field in which we move and meet, while creating and transforming it. We are different, having each our own language and history. Our heterogeneity is our strength. Feminism for us means equality for all: human beings of all genders and all origins. |
Pfffffffff, To Gather Instant Purification Performed by: Franziska Böhmer, Kai Dieterich, Mathilde ter Heijne, Linards Kulless, Ewa Majewska, Karolina Majewska, Christoph Mühlau, Cosmo Roitmann, Phillip Roitmann, Janne Schäfer, Kerstin Schröder, Ulrika Segerberg, Magda Tothova, Dorota Walentynowicz, Zorka Wollny, … Smells and sounds form the starting point of the participatory performance of the collaborative ƒƒ, which will improvise with the artefacts resulting from the previous performances in WORKS ON PAPER III. The audience is encouraged to take part in the transformation of the exhibition. As the final performance in this Performance Series, ƒƒ together with the audience, effectively re-appropriate the preceding performances and the curation of the resulting exhibition. |
|
Zeno Gries Zeno Gries is a visual artist based in Leipzig. Studying Media Art at the Academy for Visual Arts (Hochschule für Grafik und Buchkunst) in Leipzig since 2013, he is primarily working in the field of video, installation and performance. His works, at the moment almost exclusively self-portraits, are a study in how the environment reflects onto himself–sometimes dissecting his feelings and emotions, and other times dissecting his thoughts on and relationships to other people and things. He has been working with the Kunstraum E in Leipzig since 2014. He is not only curating exhibitions, but also, through a series of events, looking behind the scenes of the artistic process, from the idea, to the creation and the reflection of an artwork. |
Progress “I sleep more, so I can work better.”, “I can take time off now, I‘ve earned it.” Those are things heard many times. Doing nothing, relaxing, or recuperating seems to always need a justification which, most of the time, is work.
Zeno Gries visualises this attitude to life in the performance “Progress” in which, although he views this critically, he cannot stop such thoughts and words from coming to him. In the performance the artist’s body becomes a machine, printing the same words over and over again on a seemingly endless strip of paper. This poses the question, where do the instructions come from? And how can one stop it? |
|
Mariana Hahn In Hahn’s works she investigates the question of a universal fate which – outside of the individually experienced – might inscribe itself upon our figures. In order to awaken questions and memories that lay within us, that make us want to understand what it is, that has made us who we are, she chooses very different media; such as performance, video, drawing and photography. |
Distant Letter Present Now FEELING IS A FACT AND MY BODY IS A MONUMENT OF THAT FACT
everything is body, the world is body I am body. Absolute body. the phrases found on the letters that the spectator( reader) receives are part of an internal instant dialogue between body and the inscriptions found on it and vice versa, they are a poem of my body, the poem acts as an externalization of the body, imprinted onto paper. the letter travels to the reader from a distance, a past and yet finds actuality in the instance of reading. all the parts of the poem could be put together in any order but also as single phrases they are the sum of the whole. the words are sometimes abstract, sometimes clear inscriptions that i find on my body, sometimes as strange and painful lacerations or as in other times as tiny laughing currents. as i write them onto paper they take on a new form, and also pass away for me, or i for them? they move from a distance into an absolute presence the instance they move toward me from that distance and are extracted by passing them through my fingers, thereafter they are hardly tangible for me, they become intelligible to me. there is no sense of remorse toward that act, as it has the taste of a life saving action. they are handed on to the reader and as he/she borrows the words they inscribe themselves into his body. There always tends to be a difficulty to reconcile language directly to a body, due to the autonomy of language. As soon as words have been written down they become part of a different reality, so connecting them with the body, with this organic form, with the body’s story will seem artificial as a result the body can only function as artifact, as an effigy of the scripture. The reader will lend the phrases a thousand different meanings as he/she extracts these from recollecting his/her own memories and carefully knitting these together with the phrase on the letter. Like that they will find a general objective and value. the body lends itself to the reader as sculpture, sculpture as a felt thought, the face is hidden, the face is too fleeting and too referential, I find the face too masked to be able to discern a clear dialogue from it.
The artist isn’t present, and yet she is since the body anticipates the presence of the artist, she isn’t there in as much as she doesn’t actively interact with the reader, while the phrases inflict movement into the space by creating an adjacent space between reader and body. |
|
David Medalla David Medalla (born 1942) is a Filipino international artist. His work ranges from sculpture and kinetic art to painting, installation and performance art. He lives and works in London, New York City and Paris. Medalla was born in Manila, the Philippines, in 1942. At the age of 12 he was admitted to Columbia University in New York upon the recommendation of American poet Mark van Doren. He studied ancient Greek drama with Moses Hadas, modern drama with Eric Bentley, modern literature with Lionel Trilling, modern philosophy with John Randall and attended the poetry workshops of Léonie Adams. In the late 1950s he returned to Manila and met Jaime Gil de Biedma (the Catalan poet) and the painter Fernando Zóbel de Ayala, who became the earliest patrons of his art. In the 1960s in Paris, the French philosopher Gaston Bachelard introduced his performance ‘Brother of Isidora’ at the Academy of Raymond Duncan, later, Louis Aragon would introduce another performance and finally, Marcel Duchamp honoured him with a ‘medallic’ object. His work was included in Harald Szeemann’s exhibition ‘Weiss auf Weiss’ (1966) and ‘Live in Your Head: When Attitudes Become Form’ (1969) and in the DOCUMENTA 5 exhibition in 1972 in Kassel. In the early 1960s he moved to the United Kingdom and co-founded the Signals Gallery in London in 1964, which presented international kinetic art. He was editor of the Signals news bulletin from 1964 to 1966. In 1967 he initiated the Exploding Galaxy, an international confluence of multi-media artists, significant in hippie/counterculture circles, particularly the UFO Club and Arts Lab. From 1974 – 1977 he was chairman of Artists for Democracy, an organisation dedicated to ‘giving material and cultural support to liberation movements worldwide’ and director of the Fitzrovia Cultural Centre in London. In New York, in 1994, he founded the Mondrian Fan Club with Adam Nankervis as vice-president. Between 1 January 1995 and 14 February 1995 David Medalla rented a space at 55 Gee Street London, in which he lived and exhibited. He exhibited seven new versions of his biokinetic constructions of the sixties (bubble machines; and a monumental sand machine). These machines were constructed after Medalla’s original designs, by the English artist Dan Chadwick. The exhibition also featured large-scale prints of his New York ‘Mondrian Events’ with Adam Nankervis, and five large oil paintings on canvas created by David Medalla in situ at 55 Gee Street. Another important feature was a monumental animated neon relief entitled ‘Kinetic Mudras for Piet Mondrian’ constructed by Frances Basham using argon and neon lighting after Medalla’s original idea and designs. Medalla also invited artists to perform at the space. David Medalla has lectured at the Sorbonne, the École des Beaux-Arts in Paris, the Museum of Modern Art of New York, Silliman University and the University of the Philippines, the Universities of Amsterdam and Utrecht, the New York Public Library, Simon Fraser University in Vancouver, Canada, the Universities of Oxford, Cambridge, Canterbury, Warwick and Southampton in England, the Slade School of Fine Art, St. Martin’s. |
Chinoiserie in Potsdam: A Paper Fantasy The performance is a celebration of the invention of paper and printing in Ancient China and will feature an impromptu by David Medalla as the T’ang Dynasty master Wu Dao-zi and Adam Nankervis as the Taoist master Chuang-tzu. |
|
Adam Nankervis Adam Nankervis is an artist and curator who has infused social, conceptual and experimental practice in his lived-in nomadic museum, museum MAN, and his ongoing project ‘another vacant space.’. His immersion into the experimentation of social sculptural forms and aesthetic collisions are a trademark of his art. His ongoing project ‘another vacant space.’, re-manifested in Berlin, Wedding in 2011, since first being found in an abandoned shoe shop on Mercer Street NYC in 1992. The project focuses on the re-emergence of the hidden in subject, content and theory, the ephemeral, exploring the art of creative destruction and reconstruction, inviting both contemporary artists and the historical. His curatorial practice is infused within his own projects, and singularly, Johannesburg Biennale 1997, LIFE/LIVE Musée d’Art Moderne de la Ville Paris, Los Angeles Biennale 2001, Museum MAN/ Blurprint of The Senses Liverpool Biennale, 2004/ 2006, A Spires Embers, Arsenal Kiev 2009,’ iIsolation’, Izolyatsia Donetsk, Ukraine 2010, including, A Wake, with Rachel Rits-Volloch and Leo Kuelbs, Dumbo Arts Center, NYC November 2012. He will be performing in Mons Belgium with David Medalla, and installing a temporary site in the city of another vacant space. during Mons, Atopolis The Capital Of Culture program 2015. Nankervis, in collaboration with David Medalla, formed The Mondrian Fan Club, & is the International Coordinator of the London Biennale 2000–2012 which was founded as a free-form artist initiative. |
past present/future tense Nankervis´action is an erasure of singular memories of his life in the Australian desert, (1988/1990) and Aboriginal settlements, which are facing closure, and community displacement by political maneuvering, to create a relic, a vacant space, a string of forgotten threads on paper, for a concealed installation locked behind glass. Nankervis is colloborating acoustically with English artist/ filmmaker James Edmonds on past present/future tense. Edmonds works with painting, 8mm film and sound, to create ongoing personal chapters, filmic installments, exploring memory as photographic residue. |
|
Melisa Palacio Lopez Melissa Palacio Lopez is a Physics Engineer at the National University of Colombia and is currently a student of the Media Art and Design (M.F.A.) program at the Bauhaus University, Weimar. In parallel to her studies on plastic arts and contemporary dance, she gives workshops and courses in Colombia, USA and Europe. Creating pieces where body movement, science concepts and visual effects can merge, she explores the possibility to combine different languages to express science through art and vice versa. Noise Canteen: Bert Liebold Bert Liebold is the rhythm section of pleines & liebold. Parallel to architecture studies at Bauhaus Universität, Weimar, in the nineties he intensified drum education. He played in different cover bands within a wide range of styles from metal to funk and pop. After a short trip into the world of Latin and African percussion he worked as a drum circle facilitator. Step by step, he immersed in extended software-based sound exploration. Together with Ulf Pleines he finally founded pleines & liebold and the noise canteen network. Bert Liebold about his musical approach and “live sound building”: “We use a variable technical setup. Mostly one of us starts with a single sound or sequence. After a few moments we’re totally involved. The coincidence of musical purposes, multiple mixed sound structures, human interaction, influences of space and architecture produces each time a very unique, openminded situation. It’s like discovering a hidden world.” Noise Canteen: Ulf Pleines The musical education of Pleines started at the age of six with piano, followed by some years of clarinet. Early interest in synthesizers led him to pop bands and sound experiments. Jobs as an architect brought him to London, New York and Tokyo, where he worked with field recordings. With postgraduate studies in media and electroacoustic music he combined photography, space and sound. Recently he focuses on audio at the border between noise and music. |
S P A C E The concept of space is one of the most mysterious and deep notions that fascinates me. As it is a vast notion to analyze, I decided to delimit the area of study and consider it from three different points of view thanks to the conceptions of the french philosopher Gilles Deleuze, the philosopher and scientist Gottfried Wilhelm von Leibniz and the physicist Albert Einstein. Each of them presents a perception of the concept space and I connect these three through a complete narrative as the conceptual background for the project.
The starting point is related with the ideas of Gilles Deleuze: “The territory is the property of the animal and go out of it is venture. There is no way out of a territory without an effort for finding a new territory”. There, I’m pointing out my own relation with my territory creating and influencing my own space. The body is a shadow, but it’s not only Melissa; it’s of all those bodies that create a vector to go out of their own territory to found a new territory, which can be transformed through the personal adventure. However, in this adventure there is something that doesn’t change, even with the experience of risk and discover, there are aspects of our lives that we preserve since they are the immutable of a human being. Leibniz affirmed that the space is a concept which could be used according the relationship between the body and its order of coexistence. Then, the body breaks the personal territory. The images run into new geometries, places, cities or streets making new sounds in other languages, weathers and velocities. To finish the adventure, the body is placed in a new place/landscape where the conceptions of Einstein will be considered: Space and time are interwoven as a single continuum named spacetime and it is not conceived as a plane but as a warped non-euclidian geometry influenced by surrounding masses and energy, that is to say, by the strength of gravitational fields.
The animation sketches and dance are related with geometries of geodesical forms, where space and time show their curvature influenced by gravity. This design works around the mutable and immutable when crossing personal territory. |
|
Kirsten Palz Kirsten Palz, born 1971 in Copenhagen, is a visual artist working in Berlin. She holds a degree in Computer Science from the IT-University in Copenhagen and a degree of Fine Arts/Painting from School of Visual Arts in New York City. In 2007, Kirsten Palz initiated her ongoing archive of manuals. The archive is a work in progress currently consisting of 317 manuals, including objects, prints on paper and drawings. The manuals engage with various topics, such as dreams, memories, myth, sculpture and social space. Kirsten Palz has shown her works in both Germany and abroad. Recent works were presented in F******* -Towards New Perspectives on Feminism, Neue Berliner Kunstverein (nbk), Berlin and ff /Temporary Autonomous Zone /2/ in Galerie im Körnerpark, Berlin. Palz’s performances frequently take place non-officially in the Hamburger Bahnhof and the Museum für Kunst und Gewerbe, Hamburg – outside the institution’s listed program – and include readings and experimental guided tours for audiences. |
Dance 001 variation 1 Dance 001 |
|
Zhou Xiaohu Zhou Xiaohu (born 1960 in Changzhou) is a pioneer of video animation in China and one of the first artists to work sculpturally with this medium. Although originally trained as an oil painter, he began using computers as an artistic tool in 1997. As one of China’s most well-known and prolific contemporary artists, he specializes in inducing confusion and bafflement, making viewers question the evidence of their senses and their assumptions about the so-called ‘facts’. He has since experimented with stop-frame video animation, video installation and computer-gaming software, whereby the interlayering of images between moving pictures and real objects has become his signature style. Working across performance, photography, installation, sculpture, video, and animation, Zhou’s practice reflects the documentation of history in a digital age, where particular details become privileged, fabricated, altered, and/or omitted. Zhou’s recent shows include his participation in PANDAMONIUM at MOMENTUM (2014), Tate Liverpool’s The Real Thing: Contemporary Art from China (2007) and solo-exhibitions at Long March Space in Beijing (2009-10) and at BizArt Center in Shanghai. Zhou Xiaohu is currently an Artist-in-Residence at Berlin’s prestigious DAAD. |
A Collective Exercise “The Good Person of Szechuan” Eight participants will wear light-colored clothes. There will be black tapes sticking on their clothes which become a part of calligraphy. They will jump until the words “The Good Person of Szechwan” are aligned through the idea of trial and error. This project aims at capturing a perfect “Good Person”. |
WITH THANKS FOR GENEROUS SUPPORT:
 |
 |
 |
Photo Gallery, May 3
(photos by Marina Belikova)
no images were found
Photo Gallery, May 17
(photos by Petra Fantozzi)
Photo Gallery, May 31
(photos by Kai Dieterich, Hanae Utamura and Dian Zagorchinov)
